Dance Is a Type of Art That Generally Involves Movement Ñ‚ãâµãâºã‘âã‘‚

Performing art consisting of motility of the body

Members of a contemporary trip the light fantastic toe boogie troop performing a group routine

Saman dance from Republic of indonesia, the trip the light fantastic toe is characterized by its fast-paced rhythm and common harmony betwixt dancers

Dance is a performing art course consisting of sequences of movement, either improvised or purposefully selected. This motility has artful and oft symbolic value.^{[nb 1]} Trip the light fantastic tin be categorized and described by its choreography, by its repertoire of movements, or by its historical menstruum or identify of origin.^[4]

An important distinction is to exist drawn between the contexts of theatrical and participatory dance,^[5] although these two categories are not always completely separate; both may accept special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are sometimes said to have a trip the light fantastic toe-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronized swimming, marching bands, and many other forms of athletics.

Operation and participation [edit]

Members of an American jazz trip the light fantastic toe company perform a formal group routine in a concert dance setting

Theatrical dance, also called functioning or concert dance, is intended primarily as a spectacle, commonly a performance upon a stage past virtuoso dancers. Information technology oft tells a story, mayhap using mime, costume and scenery, or else it may just interpret the musical accompaniment, which is oft peculiarly composed and performed in a theatre setting but it is non a requirement. Examples are western ballet and modern trip the light fantastic toe, Classical Indian dance such as Bharatanatyam and Chinese and Japanese song and dance dramas such as dragon dance. Virtually classical forms are centred upon trip the light fantastic solitary, just performance trip the light fantastic may also appear in opera and other forms of musical theatre.

Participatory trip the light fantastic, on the other manus, whether it be a folk dance, a social dance, a group dance such as a line, circle, concatenation or foursquare trip the light fantastic toe, or a partner trip the light fantastic such every bit is common in Western ballroom dancing, is undertaken primarily for a common purpose, such equally social interaction or practice, or building flexibility of participants rather than to serve whatever benefit to onlookers. Such dance seldom has any narrative. A group dance and a corps de ballet, a social partner dance and a pas de deux, differ greatly. Even a solo dance may be undertaken solely for the satisfaction of the dancer. Participatory dancers ofttimes all use the same movements and steps only, for example, in the rave culture of electronic dance music, vast crowds may engage in costless dance, uncoordinated with those effectually them. On the other hand, some cultures lay down strict rules every bit to the particular dances in which, for example, men, women and children may or must participate.

History [edit]

Mesolithic dancers at Bhimbetka

Archaeological testify for early dance includes 9,000-year-old paintings^{[ citation needed ]} in Bharat at the Stone Shelters of Bhimbetka, and Egyptian tomb paintings depicting dancing figures, dated c. 3300 BC. It has been proposed that earlier the invention of written languages, dance was an important part of the oral and performance methods of passing stories downward from 1 generation to the next.^[6] The utilise of trip the light fantastic toe in ecstatic trance states and healing rituals (as observed today in many contemporary "archaic" cultures, from the Brazilian rainforest to the Kalahari Desert) is thought to have been another early factor in the social development of trip the light fantastic toe.^[7]

References to dance can be found in very early recorded history; Greek trip the light fantastic toe (horos) is referred to by Plato, Aristotle, Plutarch and Lucian.^[8] The Bible and Talmud refer to many events related to dance, and contain over xxx different dance terms.^[9] In Chinese pottery as early as the Neolithic period, groups of people are depicted dancing in a line holding hands,^[ten] and the primeval Chinese word for "dance" is found written in the oracle basic.^[xi] Dance is further described in the Lüshi Chunqiu.^{[12] [13]} Primitive dance in ancient Communist china was associated with sorcery and shamanic rituals.^[14]

Greek statuary statuette of a veiled and masked dancer, 3rd–2nd century BC, Alexandria, Arab republic of egypt

During the outset millennium BCE in India, many texts were composed which attempted to formulate aspects of daily life. Bharata Muni'south Natyashastra (literally "the text of dramaturgy") is one of the before texts. Information technology mainly deals with drama, in which dance plays an important part in Indian civilisation. Information technology categorizes dance into 4 types--secular, ritual, abstract, and, interpretive--and into four regional varieties. The text elaborates diverse mitt-gestures (mudras) and classifies movements of the various limbs, steps and then on. A strong continuous tradition of dance has since connected in Bharat, through to mod times, where it continues to play a role in civilization, ritual, and, notably, the Bollywood entertainment industry. Many other gimmicky dance forms tin as well be traced back to historical, traditional, formalism, and indigenous dance.

Music [edit]

Dance is generally, nevertheless not exclusively, performed with the accessory of music and may or may not exist performed in time to such music. Some trip the light fantastic toe (such equally tap dance) may provide its own audible accompaniment in place of (or in addition to) music. Many early forms of music and dance were created for each other and are frequently performed together. Notable examples of traditional dance/music couplings include the jig, flit, tango, disco, and salsa. Some musical genres have a parallel trip the light fantastic toe form such equally baroque music and baroque trip the light fantastic; other varieties of trip the light fantastic toe and music may share classification simply adult separately, such as classical music and classical ballet. The choreography and music get hand in paw, as they complement each other to express a story told by the choreographer and or dancers.^[15]

Rhythm [edit]

Rhythm and dance are deeply linked in history and exercise. The American dancer Ted Shawn wrote; "The conception of rhythm which underlies all studies of the dance is something about which we could talk forever, and still not end."^[xvi] A musical rhythm requires two main elements; showtime, a regularly-repeating pulse (also called the "beat" or "tactus") that establishes the tempo and, second, a blueprint of accents and rests that establishes the character of the metre or basic rhythmic design. The bones pulse is roughly equal in duration to a simple step or gesture.

Dances more often than not have a characteristic tempo and rhythmic pattern. The tango, for example, is usually danced in ²
₄ time at approximately 66 beats per minute. The basic slow step, called a "deadening", lasts for 1 beat, so that a full "correct–left" footstep is equal to one ²
₄ measure. The basic forward and astern walk of the dance is and so counted – "slow-slow" – while many additional figures are counted "boring – quick-quick.^[17]

Just every bit musical rhythms are defined by a blueprint of stiff and weak beats, so repetitive body movements often depend on alternating "strong" and "weak" muscular movements.^[18] Given this alternation of left-right, of forrad-backward and rise-fall, forth with the bilateral symmetry of the man body, it is natural that many dances and much music are in duple and quadruple meter. Since some such movements require more than time in one phase than the other – such every bit the longer time required to lift a hammer than to strike – some dance rhythms fall equally naturally into triple metre.^[19] Occasionally, every bit in the folk dances of the Balkans, dance traditions depend heavily on more circuitous rhythms. Further, complex dances equanimous of a fixed sequence of steps ever require phrases and melodies of a certain stock-still length to back-trail that sequence.

Lululaund – The Dancing Girl (painting and silk cloth. A.L. Baldry 1901, earlier p. 107), The inscription reads; "Dancing is a course of rhythm/ Rhythm is a class of music/ Music is a form of idea/ And thought is a form of divinity."

The very act of dancing, the steps themselves, generate an "initial skeleton of rhythmic beats" that must accept preceded whatsoever separate musical accompaniment, while dance itself, every bit much as music, requires time-keeping^[xx] simply every bit utilitarian repetitive movements such as walking, hauling and earthworks take on, every bit they go refined, something of the quality of trip the light fantastic toe.^[18]

Musical accompaniment, therefore, arose in the primeval dance, so that aboriginal Egyptians attributed the origin of the dance to the divine Athotus, who was said to have observed that music accompanying religious rituals caused participants to move rhythmically and to take brought these movements into proportional measure. The aforementioned idea, that trip the light fantastic arises from musical rhythm, is however found in renaissance Europe in the works of the dancing master Guglielmo Ebreo da Pesaro who speaks of trip the light fantastic as a concrete motion that arises from and expresses inward, spiritual move agreeing with the "measures and perfect concords of harmony" that fall upon the human ear,^[18] while, earlier, Mechthild of Magdeburg, seizing upon dance as a symbol of the holy life foreshadowed in Jesus' proverb "I take piped and ye have not danced",^[21] writes;

I can not dance unless thou leadest. If thou wouldst take me leap aloft, sing thou and I volition spring, into love and from dear to knowledge and from knowledge to ecstasy above all human sense^[22]

Thoinot Arbeau's celebrated 16th-century trip the light fantastic-treatise Orchésographie, indeed, begins with definitions of over fourscore singled-out pulsate-rhythms.^[23]

Equally has been shown to a higher place, dance has been represented through the ages as having emerged as a response to music yet, as Lincoln Kirstein implied, it is at least as likely that primitive music arose from dance. Shawn concurs, stating that trip the light fantastic toe "was the commencement art of the man race, and the matrix out of which all other arts grew" and that even the "metre in our poetry today is a result of the accents necessitated by trunk movement, every bit the dancing and reciting was performed simultaneously"^[16] – an assertion somewhat supported by the common use of the term "human foot" to describe the fundamental rhythmic units of poesy.

Scholes, not a dancer but a musician, offers support for this view, stating that the steady measures of music, of two, three or 4 beats to the bar, its equal and balanced phrases, regular cadences, contrasts and repetitions, may all be attributed to the "incalculable" influence of dance upon music.^[24]

Émile Jaques-Dalcroze, primarily a musician and teacher, relates how a report of the physical movements of pianists led him "to the discovery that musical sensations of a rhythmic nature call for the muscular and nervous response of the whole organism", to develop "a special training designed to regulate nervous reactions and effect a co-ordination of muscles and fretfulness" and ultimately to seek the connections between "the art of music and the art of dance", which he formulated into his system of eurhythmics.^[25] He concluded that "musical rhythm is but the transposition into sound of movements and dynamisms spontaneously and involuntarily expressing emotion".^[26]

Hence, though doubtless, as Shawn asserts, "it is quite possible to develop the dance without music and... music is perfectly capable of standing on its own anxiety without whatever assist from the dance", even so the "two arts volition e'er be related and the relationship can exist assisting both to the dance and to music",^[27] the precedence of one art over the other beingness a moot point. The common ballad measures of hymns and folk-songs takes their proper name from dance, equally does the carol, originally a circumvolve trip the light fantastic. Many purely musical pieces have been named "waltz" or "minuet", for example, while many concert dances have been produced that are based upon abstract musical pieces, such as 2 and 3 Part Inventions, Adams Violin Concerto and Andantino. Similarly, poems are often structured and named after dances or musical works, while dance and music have both drawn their conception of "measure" or "metre" from poesy.

Shawn quotes with approval the statement of Dalcroze that, while the art of musical rhythm consists in differentiating and combining time durations, pauses and accents "co-ordinate to physiological constabulary", that of "plastic rhythm" (i.eastward. dance) "is to designate motility in space, to interpret long time-values past slow movements and short ones by quick movements, regulate pauses by their divers successions and express sound accentuations in their multiple nuances by additions of actual weight, past ways of muscular innervations".

Shawn yet points out that the arrangement of musical time is a "human being-made, bogus matter.... a manufactured tool, whereas rhythm is something that has always existed and depends on man non at all", being "the continuous flowing time which our human being minds cut up into convenient units", suggesting that music might be revivified by a return to the values and the fourth dimension-perception of dancing.^[28]

The early-20th-century American dancer Helen Moller stated simply that "it is rhythm and form more than harmony and color which, from the beginning, has bound music, poesy and dancing together in a marriage that is indissoluble."^[29]

Approaches [edit]

Theatrical [edit]

Concert dance, like opera, generally depends for its big-scale course upon a narrative dramatic structure. The movements and gestures of the choreography are primarily intended to mime the personality and aims of the characters and their office in the plot.^[xxx] Such theatrical requirements tend towards longer, freer movements than those usual in non-narrative dance styles. On the other hand, the ballet blanc, adult in the 19th century, allows interludes of rhythmic dance that developed into entirely "plotless" ballets in the 20th century^[31] and that allowed fast, rhythmic trip the light fantastic-steps such as those of the petit allegro. A well-known case is The Cygnets' Trip the light fantastic toe in act two of Swan Lake.

The ballet adult out of courtly dramatic productions of 16th- and 17th-century France and Italy and for some time dancers performed dances developed from those familiar from the musical suite,^[32] all of which were defined by definite rhythms closely identified with each dance. These appeared every bit graphic symbol dances in the era of romantic nationalism.

Ballet reached widespread vogue in the romantic era, accompanied by a larger orchestra and grander musical conceptions that did not lend themselves easily to rhythmic clarity and by dance that emphasised dramatic mime. A broader concept of rhythm was needed, that which Rudolf Laban terms the "rhythm and shape" of movement that communicates character, emotion and intention,^[33] while only certain scenes required the exact synchronisation of footstep and music essential to other trip the light fantastic styles, so that, to Laban, modern Europeans seemed totally unable to grasp the significant of "primitive rhythmic movements",^[34] a state of affairs that began to modify in the 20th century with such productions as Igor Stravinsky's The Rite of Spring with its new rhythmic language evoking primal feelings of a primitive by.^[35]

Indian classical dance styles, like ballet, are frequently in dramatic form, so that there is a similar complementarity between narrative expression and "pure" dance. In this case, the two are separately defined, though non always separately performed. The rhythmic elements, which are abstract and technical, are known equally nritta. Both this and expressive dance (nritya), though, are closely tied to the rhythmic organization (tala). Teachers have adapted the spoken rhythmic mnemonic system chosen bol to the needs of dancers.

Japanese classical trip the light fantastic toe-theatre styles such as Kabuki and Noh, like Indian trip the light fantastic-drama, distinguish betwixt narrative and abstract trip the light fantastic toe productions. The three main categories of kabuki are jidaimono (historical), sewamono (domestic) and shosagoto (trip the light fantastic pieces).^[36] Somewhat similarly, Noh distinguishes between Geki Noh, based around the advancement of plot and the narration of action, and Furyū Noh, trip the light fantastic toe pieces involving acrobatics, phase properties, multiple characters and elaborate stage action.^[37]

Participatory and social [edit]

A contra dance, a course of participatory social folk dance with mixed European roots

Social dances, those intended for participation rather than for an audience, may include various forms of mime and narrative, but are typically gear up much more closely to the rhythmic pattern of music, so that terms like waltz and polka refer as much to musical pieces as to the dance itself. The rhythm of the dancers' feet may even form an essential part of the music, as in tap dance. African dance, for example, is rooted in fixed basic steps, only may also permit a loftier degree of rhythmic estimation: the anxiety or the body marking the basic pulse while cantankerous-rhythms are picked up by shoulders, knees, or head, with the all-time dancers simultaneously giving plastic expression to all the elements of the polyrhythmic pattern.^[38]

Cultural traditions [edit]

Africa [edit]

Ugandan youth dance at a cultural celebration of peace

Trip the light fantastic toe in Africa is deeply integrated into guild and major events in a community are frequently reflected in dances: dances are performed for births and funerals, weddings and wars.^{[39] : thirteen} Traditional dances impart cultural morals, including religious traditions and sexual standards; give vent to repressed emotions, such equally grief; motivate community members to cooperate, whether fighting wars or grinding grain; enact spiritual rituals; and contribute to social cohesiveness.^[40]

Thousands of dances are performed around the continent. These may exist divided into traditional, neotraditional, and classical styles: folkloric dances of a particular society, dances created more than recently in simulated of traditional styles, and dances transmitted more formally in schools or individual lessons.^{[39] : xviii} African trip the light fantastic has been altered past many forces, such equally European missionaries and colonialist governments, who frequently suppressed local trip the light fantastic toe traditions as licentious or distracting.^[forty] Dance in gimmicky African cultures all the same serves its traditional functions in new contexts; dance may celebrate the inauguration of a hospital, build community for rural migrants in unfamiliar cities, and be incorporated into Christian church ceremonies.^{[xl] [41]}

Asia [edit]

An Indian classical dancer

In the Mintha Theater (Mandalay) a master instructor of the Inwa School of Performing Arts demonstrates traditional hand movements.

All Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share mutual features: for example, the mudrasouthward (paw positions), some body positions, leg motility and the inclusion of dramatic or expressive interim or abhinaya. Indian classical music provides accompaniment and dancers of nearly all the styles wear bells effectually their ankles to counterpoint and complement the percussion.

There are now many regional varieties of Indian classical trip the light fantastic toe. Dances like "Odra Magadhi", which after decades-long argue, has been traced to present day Mithila, Odisha region's dance course of Odissi (Orissi), bespeak influence of dances in cultural interactions betwixt different regions.^[42]

The Punjab area overlapping Republic of india and Pakistan is the place of origin of Bhangra. It is widely known both every bit a style of music and a dance. It is by and large related to ancient harvest celebrations, love, patriotism or social bug. Its music is coordinated past a musical musical instrument chosen the 'Dhol'. Bhangra is not just music merely a trip the light fantastic, a celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and trip the light fantastic. It developed further with the Vaisakhi festival of the Sikhs.

The dances of Sri Lanka include the devil dances (yakun natima), a advisedly crafted ritual reaching far back into Sri Lanka'southward pre-Buddhist past that combines ancient "Ayurvedic" concepts of disease causation with psychological manipulation and combines many aspects including Sinhalese cosmology. Their influence can be seen on the classical dances of Sri Lanka.^[43]

Indonesian dances reflect the richness and multifariousness of Indonesian indigenous groups and cultures. There are more than ane,300 ethnic groups in Indonesia, it tin can be seen from the cultural roots of the Austronesian and Melanesian peoples, and diverse cultural influences from Asia and the west. Dances in Indonesia originate from ritual movements and religious ceremonies, this kind of trip the light fantastic usually begins with rituals, such as war dances, shaman dances to cure or ward off illness, dances to telephone call rain and other types of dances. With the acceptance of dharma religion in the 1st century in Indonesia, Hinduism and Buddhist rituals were celebrated in diverse artistic performances. Hindu epics such as the Ramayana, Mahabharata and also the Panji became the inspiration to be shown in a trip the light fantastic toe-drama chosen "Sendratari" resembling "ballet" in the western tradition. An elaborate and highly stylized dance method was invented and has survived to this solar day, especially on the islands of Coffee and Bali. The Javanese Wayang wong dance takes footage from the Ramayana or Mahabharata episodes, but this trip the light fantastic is very different from the Indian version, indonesian dances do not pay as much attention to the "mudras" as Indian dances: even more to show local forms. The sacred Javanese ritual trip the light fantastic toe Bedhaya is believed to date back to the Majapahit flow in the 14th century or even earlier, this dance originated from ritual dances performed by virgin girls to worship Hindu Gods such as Shiva, Brahma, and Vishnu. In Bali, trip the light fantastic toe has get an integral part of the sacred Hindu Dharma rituals. Some experts believe that Balinese trip the light fantastic toe comes from an older trip the light fantastic toe tradition from Coffee. Reliefs from temples in Eastward Java from the 14th century feature crowns and headdresses similar to the headdresses used in Balinese trip the light fantastic today. Islam began to spread to the Indonesian archipelago when indigenous dances and dharma dances were withal popular. Artists and dancers still utilise styles from the previous era, replacing stories with more Islamic interpretations and clothing that is more airtight according to Islamic teachings.^[44]

The dances of the Heart East are normally the traditional forms of circumvolve dancing which are modernized to an extent. They would include dabke, tamzara, Assyrian folk trip the light fantastic, Kurdish dance, Armenian dance and Turkish trip the light fantastic toe, amid others.^{[45] [46]} All these forms of dances would ordinarily involve participants engaging each other past holding hands or arms (depending on the manner of the dance). They would make rhythmic moves with their legs and shoulders as they curve effectually the dance flooring. The head of the trip the light fantastic would generally hold a cane or handkerchief.^{[45] [47]}

Europe and Northward America [edit]

Folk dances vary across Europe and may date back hundreds or thousands of years, but many accept features in common such as group participation led past a caller, hand-holding or arm-linking betwixt participants, and stock-still musical forms known as caroles.^[48] Some, such as the maypole dance are mutual to many nations, while others such every bit the céilidh and the polka are deeply-rooted in a single culture. Some European folk dances such every bit the foursquare trip the light fantastic were brought to the New World and subsequently became office of American culture.

Two classical ballet dancers perform a sequence of The Nutcracker, one of the best known works of classical dance.

Ballet developed offset in Italy and so in French republic from lavish court glasses that combined music, drama, poesy, song, costumes and trip the light fantastic. Members of the court nobility took office as performers. During the reign of Louis XIV, himself a dancer, dance became more than codified. Professional dancers began to have the place of court amateurs, and ballet masters were licensed past the French authorities. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the starting time institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male person ensemble but past 1681 opened to include women as well.^[vi]

20th century concert dance brought an explosion of innovation in dance style characterized past an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The human relationship of music to dance serves as the basis for Eurhythmics, devised past Emile Jaques-Dalcroze, which was influential to the development of Modern trip the light fantastic and modernistic ballet through artists such as Marie Rambert. Eurythmy, adult past Rudolf Steiner and Marie Steiner-von Sivers, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a circuitous new vocabulary to dance. In the 1920s, of import founders of the new style such as Martha Graham and Doris Humphrey began their piece of work. Since this fourth dimension, a wide variety of dance styles have been developed; run into Modernistic dance.

African American trip the light fantastic adult in everyday spaces, rather than in trip the light fantastic studios, schools or companies. Tap trip the light fantastic toe, disco, jazz trip the light fantastic, swing trip the light fantastic, hip hop dance, the lindy hop with its relationship to stone and gyre music and stone and curlicue dance have had a global influence. Dance styles fusing classical ballet technique with African-American dance have also appeared in the 21st century, including Hiplet.^[49]

Latin America [edit]

Street samba dancers perform in carnival parades and contests.

Dance is central to Latin American social life and culture. Brazilian Samba, Argentinian tango, and Cuban salsa are internationally popular partner dances, and other national dances—merengue, cueca, plena, jarabe, joropo, marinera, cumbia, bachata and others—are important components of their respective countries' cultures.^[fifty] Traditional Carnival festivals incorporate these and other dances in enormous celebrations.^[51]

Trip the light fantastic has played an of import part in forging a collective identity amongst the many cultural and ethnic groups of Latin America.^[52] Dance served to unite the many African, European, and indigenous peoples of the region.^[fifty] Certain trip the light fantastic toe genres, such every bit capoeira, and body movements, especially the characteristic quebradas or pelvis swings, have been variously banned and celebrated throughout Latin American history.^[52]

Educational activity [edit]

Dance studies are offered through the arts and humanities programs of many higher teaching institutions. Some universities offer Bachelor of Arts and higher academic degrees in Trip the light fantastic. A dance study curriculum may encompass a diverse range of courses and topics, including trip the light fantastic toe practice and performance, choreography, ethnochoreology, kinesiology, dance notation, and dance therapy. Nigh recently, trip the light fantastic and motility therapy has been integrated in some schools into math lessons for students with learning disabilities, emotional/behavioral disabilities and/or attention deficit hyperactivity disorder (ADHD).^[53]

A dancer practices in a dance studio, the primary setting for training in classical trip the light fantastic toe and many other styles.

Occupations [edit]

Dancers [edit]

Professional dancers are normally employed on contract or for particular performances or productions. The professional person life of a dancer is more often than not one of constantly changing piece of work situations, stiff competitive pressure and low pay. Consequently, professional dancers frequently must supplement their incomes to reach fiscal stability. In the U.S. many professional dancers vest to unions (such every bit the American Guild of Musical Artists, Screen Actors Lodge and Actors' Disinterestedness Clan) that establish working weather and minimum salaries for their members. Professional dancers must possess large amounts of athleticism. To lead a successful career, it is advantageous to exist versatile in many styles of trip the light fantastic, have a strong technical background and to utilize other forms of physical grooming to remain fit and healthy.^[54]

Teachers [edit]

Dance teachers typically focus on instruction dance operation, or coaching competitive dancers, or both. They typically have performance experience in the types of trip the light fantastic they teach or coach. For example, dancesport teachers and coaches are often tournament dancers or quondam dancesport performers. Dance teachers may exist self-employed, or employed by dance schools or full general pedagogy institutions with dance programs. Some work for university programs or other schools that are associated with professional person classical trip the light fantastic (due east.1000., ballet) or modern dance companies. Others are employed by smaller, privately endemic dance schools that offer dance preparation and performance coaching for various types of dance.

Choreographers [edit]

Choreographers are the ones that design the dancing movements inside a trip the light fantastic, they are ofttimes academy trained and are typically employed for item projects or, more rarely may work on contract as the resident choreographer for a specific trip the light fantastic company.^[55]

Competitions [edit]

A trip the light fantastic toe competition is an organized event in which contestants perform dances before a judge or judges for awards, and in some cases, monetary prizes. There are several major types of trip the light fantastic toe competitions, distinguished primarily past the manner or styles of dances performed. Major types of dance competitions include:

• Dancesport, which is focused exclusively on ballroom and latin dance.
• Competitive trip the light fantastic toe, in which a diverseness of theater trip the light fantastic styles, such as acro, ballet, jazz, hip-hop, lyrical, and tap, are permitted.
• Single-style competitions, such as; highland dance, dance team, and Irish dance, that just permit a unmarried trip the light fantastic toe style.
• Open competitions, that permit a wide diverseness of dance styles. An case of this is the Television plan Then You Retrieve You Tin Dance.
• Olympic, Dance has been trying to be function of the Olympic sport since 1930s.

In addition, there are numerous dance competitions shows presented on television set and other mass media.

Gallery [edit]

• 

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  A contemporary dancer performs a stag split leap.

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  A dancer performs a "toe rise", in which she rises from a kneeling position to a standing position on the tops of her anxiety.

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  Latin Ballroom dancers perform the Tango.

• 

  Gumboot dance evolved from the stomping signals used as coded communication betwixt labourers in South African mines.

• 

• 

• 

  Modern dance – a female dancer performs a leg split while balanced on the dorsum of her partner.

• 

  A nineteenth century artist'south representation of a Flamenco dancer

• 

  Ritual trip the light fantastic – Armenian folk dancers celebrate a neo-pagan new year's day.

• 

  A latin ballroom couple perform a Samba routine at a dancesport event.

• 

  Folk trip the light fantastic toe – some dance traditions travel with immigrant communities, equally with this festival trip the light fantastic toe performed by a Shine community in Turkey.

• 

  Street dance – a Breakdancer performs a handstand trick.

• 

• 

  Ballet class of immature girls wearing leotards and skirts in 2017

• 

See besides [edit]

• Art
• Outline of performing arts
• Outline of dance
• Index of dance articles
• Listing of trip the light fantastic awards
• Human body

Notes [edit]

1. ^ Many definitions of trip the light fantastic toe have been proposed. This definition is based on the post-obit:

   "Dance is human motion created and expressed for an artful purpose."^[i]

   "Trip the light fantastic toe is a transient fashion of expression performed in a given class and style by the human body moving in infinite. Dance occurs through purposefully selected and controlled rhythmic movements; the resulting miracle is recognized every bit dance both by the performer and the observing members of a given grouping."^[two]

   "Trip the light fantastic is human behaviour composed (from the dancer's perspective, which is usually shared by the audition members of the dancer's culture) of purposeful (individual choice and social learning play a function), intentionally rhythmical, and culturally patterned sequences of nonverbal trunk movement mostly other than those performed in ordinary motor activities. The motion (in fourth dimension, space, and with effort) has an inherent and aesthetic value (the notion of ceremoniousness and competency as viewed by the dancer's civilisation) and symbolic potential."^[three]

References [edit]

1. ^ Sondra Horton Fraleigh (1987). Dance and the Lived Body: A Descriptive Aesthetics. University of Pittsburgh Pre. p. 49. ISBN978-0-8229-7170-2.
2. ^ Joann Kealinohomoku (1970). Copeland, Roger; Cohen, Marshall (eds.). An Anthropologist Looks at Ballet as a Grade of Ethnic Dance (PDF). What is Dance? Readings in Theory and Criticism (1983 ed.). New York: Oxford University Press. Archived from the original (PDF) on 2011-01-04.
3. ^ Judith Lynne Hanna (1983). The performer-audience connection: emotion to metaphor in dance and club. University of Texas Press. ISBN978-0-292-76478-1.
4. ^ Foster, Susan Leigh. (2011). Choreographing empathy : faculty in performance. Routledge. ISBN978-0-415-59656-v. OCLC 963558371.
5. ^ "Canadian National Arts Heart – Dance Forms: An Introduction".
6. ^ ^{a b} Nathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early on Modern World". Ed. Jonathan Dewald. Vol. 2. New York: Charles Scribner's Sons, 2004. pp 94–108.
7. ^ Guenther, Mathias Georg. 'The San Trance Dance: Ritual and Revitalization Amid the Farm Bushmen of the Ghanzi District, Republic of Republic of botswana.' Journal, South West Africa Scientific Social club, five. xxx, 1975–76.
8. ^ Raftis, Alkis, The World of Greek Dance Finedawn, Athens (1987) p25.
9. ^ Kadman, Gurit (1952). "Yemenite Dances and Their Influence on the New Israeli Folk Dances". Journal of the International Folk Music Council. 4: 27–30. doi:10.2307/835838. JSTOR 835838.
10. ^ "Basin with design of dancers". National Museum of China. Archived from the original on 2017-08-11. Retrieved 2017-05-23 . Pottery from the Majiayao civilization (3100 BC to 2700 BC)
11. ^ Kʻo-fen, Wang (1985). The history of Chinese trip the light fantastic. Strange Languages Press. p. 7. ISBN978-0-8351-1186-7. OCLC 977028549.
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Further reading [edit]

• Abra, Allison. "Going to the palais: a social and cultural history of dancing and trip the light fantastic toe halls in Britain, 1918–1960." Contemporary British History (Sep 2016) 30#3 pp. 432–433.
• Blogg, Martin. Dance and the Christian Faith: A Grade of Knowing, The Lutterworth Press (2011), ISBN 978-0-7188-9249-4
• Carter, A. (1998) The Routledge Trip the light fantastic Studies Reader. Routledge. ISBN 0-415-16447-8.
• Cohen, S, J. (1992) Dance As a Theatre Fine art: Source Readings in Dance History from 1581 to the Nowadays. Princeton Volume Co. ISBN 0-87127-173-seven.
• Daly, A. (2002) Critical Gestures: Writings on Dance and Civilisation. Wesleyan University Press. ISBN 0-8195-6566-0.
• Miller, James, Fifty. (1986) Measures of Wisdom: The Cosmic Dance in Classical and Christian Antiquity, University of Toronto Press. ISBN 0-8020-2553-six.

External links [edit]

• Chisholm, Hugh, ed. (1911). "Trip the light fantastic toe". Encyclopædia Britannica (11th ed.). Cambridge University Printing.
• Celebrated illustrations of dancing from 3300 BC to 1911 AD from Project Gutenberg
• U.s. National Museum of Dance and Hall of Fame

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Source: https://en.wikipedia.org/wiki/Dance

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